The fundamental principle of IRCAM is to encourage productive interaction among scientific research, technological developments, and contemporary music production. Since its establishment in 1977, this initiative has provided the foundation for the institute’s activities. One of the major issues is the importance of contributing to the renewal of musical expression through science and technology. Conversely, ...

IRCAM is an internationally recognized research center dedicated to creating new technologies for music. The institute offers a unique experimental environment where composers strive to enlarge their musical experience through the concepts expressed in new technologies.

In parallel to its fundamental missions of research and creation, IRCAM is committed to sharing its knowledge and know-how, its technologies with the general public. Cutting-edge research and diffusion of innovations, an international reference for education and the democratization of artistic practices are the driving forces behind the institute’s educational activities.

At the center of societal and economic concerns combining culture and information technologies, the current research at IRCAM is seen by the international research community as a reference for interdisciplinary projects on the sciences and technologies for sound and music, constantly exposed to society’s new needs and uses.

The fundamental principle of IRCAM is to encourage productive interaction among scientific research, technological developments, and contemporary music production. Since its establishment in 1977, this initiative has provided the foundation for the institute’s activities. One of the major issues is the importance of contributing to the renewal of musical expression through science and technology. Conversely, ...

IRCAM is an internationally recognized research center dedicated to creating new technologies for music. The institute offers a unique experimental environment where composers strive to enlarge their musical experience through the concepts expressed in new technologies.

In parallel to its fundamental missions of research and creation, IRCAM is committed to sharing its knowledge and know-how, its technologies with the general public. Cutting-edge research and diffusion of innovations, an international reference for education and the democratization of artistic practices are the driving forces behind the institute’s educational activities.

At the center of societal and economic concerns combining culture and information technologies, the current research at IRCAM is seen by the international research community as a reference for interdisciplinary projects on the sciences and technologies for sound and music, constantly exposed to society’s new needs and uses.

Soirée Sonore #4

The composers from the Cursus program in composition and computer music present 10 works with electronics. At 8:15 and 9:15pm, experience the echoes between young sound creation and masterpieces of the Musée national d’art moderne’s collection.

Listen to the 10 works with electronicsThursday, November 16, 8:15 and 9:15pmCentre Pompidou, Level 5

Program

Daniel Alvarado Bonilla, Kalimbaleidoscopic Forest"A fleeting look at an imaginary forest. Fantastic animals. Pleasure in the obscenity of the jungle. Inside this forest, a human presence suddenly appears, suggested by the percussions and an ever-present—but irregular and hesitant­—beat." - Daniel Alvarado Bonilla

Shihong Ren, Dark Forest #5001"In Dark Forest #5001 I kept the concrete sounds of different sound sources I used: the piano, the voice, coins on metal plates, and the noises from an automated MIDI controller using a process to which I adhere." - Shihong Ren

Tom Bierton, Awake inside the amber"Awake inside the amber has a very simple form: a large crescendo-decrescendo, a single movement that is flexible and colored, mirrored and wavy, that progressively sings and groans. I imagine the sound that a huge block of amber would make as it forms over millennia and a creature from Antiquity waking up in the amber." - Tom Bierton

Bertrand Plé,Doo Pop to Bop"Doo Pop to Bop switches between two contrasting energies: the first is imagined with a dynamic rhythmic montage engraved with natural sounds, short and bright. The second is calmer and further away, relying on sequences of transformed sounds as a sort of respite. The short length and choice of the sounds bring humor and levity to this acousmatic study." - Bertrand Plé

Maurizio Azzan, Instabile"Instabile is a short study on the grey area between the chaotic irregularity of the sound of rubbing and the regularity of a metallic echo. The different hybridizations of their spectral morphologies shatter in space, seeking a new balance." - Maurizio Azzan

Luis Quintana, Aguanilé"In Santeria, an Afro-American religion from the Yoruba, aguanilé is the spiritual cleansing of a place, often with water. Imagined as a study of the exploration of the saxophone’s percussive sounds (certain are reminiscent of “aquatic sounds”), Aguanilé refers to the rhythmic, dancing, magic spirit associated with this religious tradition." - Luis Quintana

Scott Rubin, Stridulations"Stridulation, “droning” or “chirping” in English, refers to the modulated sound produced by certain insects when they rub specific parts of their bodies against each other. This behavior also exists in other animals such as fish, snakes, and spiders. Using the sound samples recorded from a viola and piano, the movements in Stridulations imitate the chriping of imaginary animals." -Scott Rubin

Luciano Leite Barbosa,Étude pour le déplacement des sons"Étude pour le déplacement des sons was created based on the sound of a guitar shaped like a coconut. The main sound in the piece is produced by rocking the guitar on a wooden table, creating an effect not unlike that of a pendulum. The piece explores the spatialization of sound in space, playing with the elasticity of the sound object’s velocity." - Luciano Leite Barbosa

Stylianos Dimou,Intimate sounds from the past"Intimate sounds from the past is an etude on the articulation and transformation of different sound materials and on the way of creating a short acousmatic story. In the piece, the material remains invariant but develops quite a bit. This oxymoron weaves a constant mutation of identical sounds, creating an illusion of multiple, heterogeneous sound entities." - Stylianos Dimou